A Performance History of Christopher Marlowe's Edward II on the British Stage and Screen from 1903-1991
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Bell & HoweII Information and Leamino 300 North Zeeb Road, Ann Arbor, MI 48106.1346 USA 800-521-0600 A PERFORMANCE HISTORY OF CHRISTOPHER MARLOWE'S EDWAIU> II ON THE BRITISH STAGE AND SCREEN FROM 1903-199 1 Daum Michelle Scovell A thesis submitted in confonnity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto Q Copyright by Dalm Michelle Scovell 1999 Acquisitions and Acquisitions et Bibliographi Services services bibliographiques The author has granted a non- L'auteur a accordé une licence non exclusive licence dowing the exclusive permettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distribuer ou coptes of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts ikom it Ni la thèse ni des extraits substantiels may be printed or othenvise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permissian. autorisation. Dawn Michelle Scovell A Pedormance History of Chnstopher Marlowe's Edward II on the British Stage and Screen fiom 1903 - 1991. Doctor ofPhilosophy, 1999 Graduate Centre for Study of Drarna University of Toronto This dissertation examines how five twentieth-century productions of Marlowe's Edward II have ken idiuenced by the social and political conditions of their production and reception. Chapter One presents the ternis and scope of the thesis, then examines Marlowe's treatment of his histoncal sources in order to reveal the social and political concems which influenced him. The second section of this chapter speculates about the presentation of Edward II on the Elizabethan stage- Two specific venues (the Leicester Guildhall and the Red Bull theatre in London) in which Edward II may have been performed during the Renaissance are analysed to show the play's adaptability and how it rnight have been adjusted to each venue. The subsequent five chapters each explore a modem production of Edward 11 on the British stage and screen from 1903 - 199 1. The productions under examination are William Poel and the Eiizabethan Stage Society (1903); Toby Robertson at the Edinburgh Festival (1969); Nicholas Hytner and the Royal Exchange Theatre Company (1 986); Gerard Murphy and the Royal Shakespeare Company (1990) and Derek Jarman's screen adaptation in 1991. Each chapter considers the histoncal and theatrical concerns ofthe production and then proceeds to examine the performance itseIf (set, costumes, characterization, and several key scenes) to determine how it \vas influenced by social factors. The influence of the social and political concems on each production is seen most clearly, but not exclusively, in the treatment of the homosexual relationship between Edward and Gaveston- FinaMy the conciusion takes the performance analysis one step fiirther by exploring where interpretations of Edward II could go as we move into the new millennium. It is postulated that one possible approach could be to develop more hlly the complex character of Isabella and the various roles she assumes throughout the play. Edward II may have exhausted its potential for exploring issues of homosexuality and homophobia in the twentieth century; it may find a new direction in the next century. Acknowledgements No dissertation can be completed without the assistance (intellectual, emotional, and financial) of family, ni-ends, and colleagues. This project has greatly benefited fiom the scholarly wisdom, unrelenting patience, and emotional support of my supervisor Ji11 Levenson. She miraculously dealt with the rapid completion of my thesis and deserves to be nominated for Sainthood. Alexander Leggatt provided significant insight into my topic which led me to develop my ideas more fully. Anne Lancashire \vas influential in both the classroom and in the advice she provided during the early stages of the thesis. I am extremely grateful to Leslie Thomson who saw my ability in Ençlish when 1 was a first year undergraduate: her help and support in the early years prepared me to pursue a doctoral degree. AI1 of the following friendships have replenished my energy and spirit over the years 1 took to produce this thesis. Elizabeth Poivers has been a friend, mentor, and -euardian ange1 throughout the last 15 years. Her wisdorn and unendinç support greatly influenced al1 aspects of mp life and facilitated the completion of this project. Francine Ferrer was a constant and reliable fnend throughout my academic career. She not only allowed me to ramble on about my thesis for over 5 years, but more importantly provided me with many of the necessary escapes (especially Ireland) from the academic world. Jennifer Andrews provided limitless advice, motivation, and emotional support. Without her fi-iendship and intellectual camaraderie this project would not have been completed. Judith Stuart was an angel in finding the time to proof read the final draft of the thesis. She was aiways there to lend a sympathetic ear when 1just wanted to vent. Jean Butler, in our short fiendship, motivated me to finish the thesis at a crucial tirne when I was loosing faith in my ability to do so. Misty, my four legged niend, allowed me to reiax and get baclc in touch with reality throughout the last critical year of the project. 1 am happy to acknowledge the assistance of the Theatre Museum in London, the Manchester Exchange Theatre, the Shakespeare Institute, the Shakespeare Centre Library, and the University of Birmingham for providing the necessary prompt-books, theatre reviews, and photographs pertaining to the productions examined. Sally-Beth MacLean \vas a fountain of information on the Leicester Guild Hall and let me explore the archives of the Records of Early English Drama (REED) at the University of Toronto. Paul MacLean generously allowed me to include pictures he took of the Guiid Ha11 in Leicester within my thesis. I must also thank Professor Laurie Loeb, Professor David Rayside and Professor Bartlett from the University of Toronto whose espertise in the areas of Renaissance history, Victorian history, and political science were invaluable. vii Table of Contents Abstract Acknowledgements Table of Contents Chapter 1 Edward II in Renaissance England: An Introduction 1 Chapter 2 William Poe1 and the Elizabethan Stage Society 46 Cbapter 3 Toby Robertson at the Edinburgh Festival Chapter 4 Nicholas Hytner at the Royal Exchange Theatre Chapter 5 Gerard Murphy and the Royal Shakespeare Company 133 Chapter 6 Derek Jarman's Edward II: A Cinematic Adaptation 168 Conclusion 209 Appendix 216 Works Cited or ConsuIted 222 Chapter One Edward 11 in Renaissance England: An Introduction Christopher Marlowe's Edward II has had an unusual stage history: it was acted c'sundrie" times during the Renai-ssanceand then suddenIy disappeared hmal1 records until it was revived by William Poe1 and the Elizabethan Stage Society approximately three centuries later in 1903. Within its own historid period Edward II probably appealed to its audiences because Marlowe manipulateci the historical material to reflect the political and social concerns of his age. The multiple printings of the play suggest that Edmrd II continued to draw an audience even twventy years after its first pedionnance.t Marlowe's Edward II tells us more about Elizabethan England than it does about the England of Edward II. Close examination of Edward II reveals a great deal about the political and social climate in Scotland and England during the 1590's. Marlowe's Edward II is a combination of old chronicle material and the new interpretation given to it by the playwight himsel f which \vas influenced by his cultural environment. Marco De Marïnis in The Semiotics of Performance has developed a systematic definition of what comprises a performance text A performance text is "a mixture of old and new, of the 'already and the 'not yet said*'(De Marinis 4). This theoretical approach will be applied to the analysis of Edward II and its performance in both the Renaissance and the hventieth century because each production, in various degrees, combines both old and new material, Marlowe's changes to the historical chronicles illuminate aspects of Renaissance England, as the alterations to Marlowe's te.xt reveal the political and social conditions of its production and reception throughout the twentieth century- Each twentieth-century production contains the content of Marlowe's play, as recorded in the editions used, yet is reshaped by the director (both consciously and subconsciously) to reflect the social and political climate of the time period in which it is king performed.